Rossetti’s career encompassed poetry, painting and design, and bridged three key artistic schools of the late 19th century: the Pre-Raphaelite Brotherhood, the Arts & Crafts Movement and Aestheticism. His later life was centred in Tudor House, 16 Cheyne Walk Chelsea, to which he moved after the death of his wife Elizabeth Siddell in 1862. Increasingly reclusive, his earlier interest in interiors intensified and the house became a canvas for experimentation in colour, texture, and stylistic eclecticism. This Regency revival style sofa stood in his bedroom, alongside matching green velvet curtains, and a four -poster bed hung with seventeenth century crewelwork. It was described by H. Treffry Dunn as ‘the only comfortable piece of furniture visible’. The sofa was given by Charles Faifax Murray, an artist, collector and dealer associated with both Rossetti and Morris, who also donated Titian’s Tarquin and Lucretia to the Fitzwilliam.